Bulgarian native and third-year director in the Yale School of Drama, Elizabeth Dinkova has long dreamed of dramatizing poet Geo Milev’s epic poem, September, about the suppression of a peasant uprising in her homeland in 1923, and this week her dream will be fulfilled. This semester, Dinkova and her collaborators Miranda Rose Hall, a third-year playwright, and Michael Constagliola, a second-year sound designer, have developed an original “tragicomic musical,” Bulgaria! Revolt! that revisits the situation in which Milev wrote his most famous work, and also extends his vision to the U.S.

The play debuts this Friday at the Iseman Theater as the second thesis show of the season at the School of Drama, and runs through December 15.

Elizabeth Dinkova

Bulgaria! Revolt! derives from the story of Milev, a poet who wrote a poem about an armed insurgency against a new government, formed by a military coup, that deposed an Agrarian leader and placed a fascist, Alexander Tsankov, in power. The uprising was brutally suppressed, the Communist Party was outlawed, and, after a terrorist act at a military funeral stirred up further reprisals, Milev was killed along with 400-500 others and buried in a mass grave in 1925.

In Bulgaria! Revolt!, the poet is tried and convicted as an enemy of the State and is forced to rescind his poem. His faith in art’s political use shaken, the poet makes a deal with the devil to have his poem “disappeared,” so that no memory of it will exist. The poet’s wife, Mila, protests, and the devil accepts her challenge to prove that poetry can still inspire revolutionary ideals, though this time, Mila insists, it will do so in the meat-packing district of 1920s Chicago, which is where Act II is set.

Chicago, Dinkova points out, has the highest population of Bulgarians in the U.S. due to a popular Bulgarian travel novel, To Chicago and Back, that painted conditions in the country around the time of the 1890 World’s Fair for would-be emigrants back home. As an immigrant, Dinkova wanted to work on a project that could bring together both her home country and her current one, with continuity between the two settings provided by the question of the artist’s responsibility to the public, and to the political forces of a given time and place.

Adapting Milev’s poem required a collaborator and in that Dinkova has been blessed by her close working relationship with Miranda Rose Hall. The two worked together last year on Hall’s second-year play The Best Lesbian Erotica, 1995, and on a wildly satiric Yale Cabaret show about a viral health crisis, and, this past summer, on the lampoon Antarctica! at the Yale Summer Cabaret where Dinkova was Co-Artistic Director. Each of the works featured a decidedly satiric element, at least in part, and the latter was also an adaptation—of Alfred Jarry’s Ubu Roi. This time, the duo say, they felt the show had to be a musical, and that brought in the talents of Michael Constagliola to compose the score.

Why a musical? Hall speaks enthusiastically of a class on the musical that impressed upon her how the “genre has a lot of requirements,” and with so much in their play requiring imaginative leaps, she “took refuge in the given structures” of the form. It also helps that their plot fits well the requirements of standard musicals, such as “two opposing worlds,” a main character “with a counterpart,” and songs that provide exposition and also big “I am, I want” solos of motivation. The American musical “feels larger than life,” and that’s a quality the play is decidedly going for. Both Dinkova and Hall look to collaborators in musical theater like Brecht/Weill who “recognized the power of music to ask questions and change minds.” And, of course, most popular movements have their songs to inspire and to “galvanize the masses.”

The poem, September, is “romantic and epic,” Dinkova says, filled “with a naïve, idealistic vision,” trying to imagine “a world where earth will be a paradise with no lord or master.” It may have been a stretch for Milev, a modernist and expressionist, to encompass such themes, but the times demanded it. Even so, she says, “the protagonists are not ideological heroes but tragic figures.” For Hall and Dinkova, the effort has been to capture the tone while letting artistic freedom guide the choice of events and scenes. Hall says their earlier collaboration on Antarctica! was a “fertile proving ground” for learning how to adapt works of another time to our contemporary occasions. As with that play, Hall’s participation in Bulgaria! isn’t part of her own degree requirements at YSD, so there is a similar freedom, though, she says, with the budget and prep time of a thesis show, this production “is like the Cab on steroids.”

Dinkova and Hall say they have taken their inspiration this time out from the working relationship between playwright Paula Vogel and director Rebecca Taichman, the co-creators of the Yale Rep’s Broadway-bound play Indecent. A bit like the latter work, Bulgaria! Revolt! seeks to find a contemporary meaning in an older text and to find poetic and dramatic significance in historical events. There the similarity probably ends, since Hall, when working with Dinkova, seems to be drawn to the absurd and to irreverent satire.

And why not? I spoke to the co-creators days after the election of 2016, and Dinkova spoke of how rehearsals had become a kind of “refuge” and a “fire pit” where one could burn up the energy of dismay and foreboding inspired by the unexpected turn of events. For Hall, though the script was finalized before the election’s outcome, there is a question for artists in “how to find hope” and, for herself, in discovering the meaning of a much-abused term like “revolution.”

A leftist poet suppressed after writing a poem celebrating a brave but failed insurrection against a fascist leader? A deal with the devil that lets the poet and his wife try again in “the land of the free”? Bulgaria! Revolt! has the potential to needle the way a good political cartoon can, and with tunes to whistle while you work for the future.